La Sirena: Zarzuela Canaria De Sindo Saavedra
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Lotus Infuses Downtown Bloomington with Global
FOR MORE INFORMATION: [email protected] || 812-336-6599 || lotusfest.org FOR IMMEDIATE RELEASE: 8/26/2016 LOTUS INFUSES DOWNTOWN BLOOMINGTON WITH GLOBAL MUSIC Over 30 international artists come together in Bloomington, Indiana, for the 23rd annual Lotus World Music & Arts Festival. – COMPLETE EVENT DETAILS – Bloomington, Indiana: The Lotus World Music & Arts Festival returns to Bloomington, Indiana, September 15-18. Over 30 international artists from six continents and 20 countries take the stage in eight downtown venues including boisterous, pavement-quaking, outdoor dance tents, contemplative church venues, and historic theaters. Representing countries from A (Argentina) to Z (Zimbabwe), when Lotus performers come together for the four-day festival, Bloomington’s streets fill with palpable energy and an eclectic blend of global sound and spectacle. Through music, dance, art, and food, Lotus embraces and celebrates cultural diversity. The 2016 Lotus World Music & Arts Festival lineup includes artists from as far away as Finland, Sudan, Ghana, Lithuania, Mongolia, Ireland, Columbia, Sweden, India, and Israel….to as nearby as Virginia, Vermont, and Indiana. Music genres vary from traditional and folk, to electronic dance music, hip- hop-inflected swing, reggae, tamburitza, African retro-pop, and several uniquely branded fusions. Though US music fans may not yet recognize many names from the Lotus lineup, Lotus is known for helping to debut world artists into the US scene. Many 2016 Lotus artists have recently been recognized in both -
Germán López, Joel Savoy & Kelli Jones
MUSIC Germán López, Joel Savoy & SAVANNAH Kelli Jones Sat, March 25, 2017 12:30 pm – 1:40 pm Venue Charles H. Morris Center, 10 E Broad St, Savannah, GA 31401 View map Admission Buy tickets More information Savannah Music Festival Credits Presented by the Savannah Music Festival Germán López is a world-renowned ‘timple’ player from the Canary Islands, and is joined by Spanish guitarist Antonio Toledo at the 2017 Savannah Music Festival. Two acoustic duos from remarkably different traditions share this one- time-only double bill. Germán López is a world-renowned timple player from Spain, and is joined by Spanish guitarist Antonio Toledo. López has been performing since the age of 10, including collaborations with the symphony orchestra of Gran Canaria and festival appearances throughout Europe and the U.S. Pronounced “tim-play,” the timple is a diminutive 5-stringed instrument that resembles the 4-stringed ukulele, which López brings to life through a joyous sound that is similar to flamenco music but with a very Portuguese flair. Joel Savoy and Kelli Jones are from Eunice, Louisiana and specialize in Cajun music, honky-tonk and swing on guitar and fiddle. Savoy is the son of renowned Cajun musicians Mark & Ann Savoy, is owner/producer at the Grammy-winning label Valcour Records, and is also the Artistic Director of the Festival of American Fiddle Tunes. This is his third SMF appearance. Kelli Jones grew up playing old-time fiddle alongside her father Carl Jones in North Carolina, and has lived in Louisiana for the past decade. She also performs and tours with Feufollet and T’Monde, in addition to this compelling new project. -
Miguel Metzeltin LOS TEXTOS CRONÍSTICOS AMERICANOS
Miguel Metzeltin LOS TEXTOS CRONÍSTICOS AMERICANOS COMO FUENTES DEL CONOCIMIENTO DE LA VARIACIÓN LINGÜÍSTICA 1. Tres fuentes Para las observaciones y reflexiones lingüísticas que propongo en esta comunicación me baso en tres textos: Bernal Díaz del Castillo (21942), Historia verdadera de la conquista de la Nueva España, Madrid, Espasa-Calpe (edición de Carlos Pereyra); - Fr. Reginaldo de Lizárraga (1909), Descripción breve de toda la tierra del Perú, Tucumán, Río de la Plata y Chile, en: Serrano y Sanz, Manuel, Historiadores de Indias, Madrid, Bailly-Baillière (N.B.A.E. 15, 485-660); Relación geográfica de San Miguel de las Palmas de Tamalameque, Gobernación de Santa Marta, Audiencia de Nueva Granada, Virreinato del Perú (hoy República de Colombia), en: Latorre, Germán (ed.) (1919), Relaciones geográficas de Indias, Sevilla, Zarzuela, 9-34. Bernal Díaz del Castillo (1495-1581) nació en Medina del Campo, pasó a América en 1514, donde se quedó hasta su muerte. Fue testigo ocular de lo que cuenta. Su manera de escribir se considera cercana a la lengua hablada: le faltaba el sentido de la forma literaria [...]. La forma literaria que sí maneja, y bien, es la del relato: revive el pasado minuto por minuto, y lo describe confundiendo lo esencial con lo accidental, como en una vivaz conversación (E. Anderson Imbert 51965, 34). Escribió la historia a sus ochenta años. Reginaldo de Lizárraga y Obando nació en Medellin (Badajoz) en 1540, pasó a Quito a los quince años, entró en la orden dominicana, ejerció varios 143 Miguel Metzeltin cargos eclesiásticos, por último el de obispo de La Asunción, donde murió (1615). -
La Zarzuela En Un Acto: Música Representada
Recitales para Jóvenes de la FUNDACIÓN JUAN MARCH Curso 201 3/201 4 La zarzuela en un acto: música representada Guía didáctica para el profesor Presentador: Ignacio Jassa o Polo Vallejo Guía didáctica: Alberto González Lapuente @ Alberto González Lapuente, 2013. (ijl Fundación Juan March - Dcparcamcnto de Actividades Culturales, 2013. Los textos contenidos en esta GuÍél Didáctica pueden reproducirse libremente citando la procedem:ia y los autores de la misma. Diseño de la Guía: Gonzalo Fernández .\'lonte. \\'WW.march.es La zarzuela en un acto: música representada e réditos LA SALSA DE ANICETA Zarzuela en un acto Música de Ángel Rubio y libreto de Rafael María Liern Estrenada el 3 de abril de 1879 en el Teatro de Apolo, Madrid Primera interpretación en tiempos modernos Real Escuela Superior de Arte Dramático Con la colaboración de la R ESAD Dirección de escena: Claudia Tobo Escenografía: Marcos Carazo Acero Vestuario: María Arévalo Iluminación: Nuria Henríquez Reparto Doña Presentación, tiple cómica: Paula lwasaki Elvira, soprano: María Rodríguez o Ruth lniesta Don Gumersindo, actor cantante: Raúl Novillo Alfredo, tenor: Julio Morales o Emilio Sánchez Piano: Celsa Tamayo o Miguel Huertas ~ - ":::::: FUNDACIÓN JUAN MARCH Recitales para Jóvenes • Gu ía didáctica La zarzuela en un acto: música representada 2 La zarzuela: una aproximación Características generales .............................................................................................................. 4 Área de influencia .......................................................................................................................... -
Popular, Elite and Mass Culture? the Spanish Zarzuela in Buenos Aires, 1890-1900
Popular, Elite and Mass Culture? The Spanish Zarzuela in Buenos Aires, 1890-1900 Kristen McCleary University of California, Los Angeles ecent works by historians of Latin American popular culture have focused on attempts by the elite classes to control, educate, or sophisticate the popular classes by defining their leisure time activities. Many of these studies take an "event-driven" approach to studying culture and tend to focus on public celebrations and rituals, such as festivals and parades, sporting events, and even funerals. A second trend has been for scholars to mine the rich cache of urban regulations during both the colonial and national eras in an attempt to mea- sure elite attitudes towards popular class activities. For example, Juan Pedro Viqueira Alban in Propriety and Permissiveness in Bourbon Mexico eloquently shows how the rules enacted from above tell more about the attitudes and beliefs of the elites than they do about those they would attempt to regulate. A third approach has been to examine the construction of national identity. Here scholarship explores the evolution of cultural practices, like the tango and samba, that developed in the popular sectors of society and eventually became co-opted and "sanitized" by the elites, who then claimed these activities as symbols of national identity.' The defining characteristic of recent popular culture studies is that they focus on popular culture as arising in opposition to elite culture and do not consider areas where elite and popular culture overlap. This approach is clearly relevant to his- torical studies that focus on those Latin American countries where a small group of elites rule over large predominantly rural and indigenous populations. -
Rippling Notes” to the Federal Way Performing Arts & Event Center Sunday, September 17 at 3:00 Pm
FOR IMMEDIATE RELEASE MEDIA CONTACT August 23, 2017 Scott Abts Marketing Coordinator [email protected] DOWNLOAD IMAGES & VIDEO HERE 253-835-7022 MASTSER TIMPLE MUSICIAN GERMÁN LÓPEZ BRINGS “RIPPLING NOTES” TO THE FEDERAL WAY PERFORMING ARTS & EVENT CENTER SUNDAY, SEPTEMBER 17 AT 3:00 PM The Performing Arts & Event Center of Federal Way welcomes Germán (Pronounced: Herman) López, Sunday, September 17 at 3:00 PM. On stage with guitarist Antonio Toledo, Germán harnesses the grit of Spanish flamenco, the structure of West African rhythms, the flourishing spirit of jazz, and an innovative 21st century approach to performing “island music.” His principal instrument is one of the grandfathers of the ‘ukelele’, and part of the same instrumental family that includes the cavaquinho, the cuatro and the charango. Germán López’s music has been praised for “entrancing” performances of “delicately rippling notes” (Huffington Post), notes that flow from musical traditions uniting Spain, Africa, and the New World. The “timple” is a diminutive 5 stringed instrument intrinsic to music of the Canary Islands. Of all the hypotheses that exist about the origin of the “timple”, the most widely accepted is that it descends from the European baroque guitar, smaller than the classical guitar, and with five strings. Tickets for Germán López are on sale now at www.fwpaec.org or by calling 2535-835-7010. The Performing Arts and Event Center is located at 31510 Pete von Reichbauer Way South, Federal Way, WA 98003. We’ll see you at the show! About the PAEC The Performing Arts & Event Center opened August of 2017 as the South King County premier center for entertainment in the region. -
CANARY ISLANDS at the SPANISH PAVILION 30Th MAY to 5Nd JUNE
CANARY ISLANDS AT THE SPANISH PAVILION 30th MAY to 5nd JUNE 2005 From the 30th of May until the 5th of June, the Spanish Pavilion will celebrate the CANARY ISLANDS region week. On the 4th of June, the Canary Islands will be celebrating its official day. For this special occasion the Spanish Pavilion is honoured to receive the Official Delegation from this region headed by their President Adan Martín. Spain is divided into seventeen autonomous regions, each of them with its own government. During EXPO Aichi 2005 the Spanish Pavilion will have the participation of its regional governments and autonomous cities to show Spain’s natural diversity and cultural pluralism. Each Spanish autonomic region will have the use of the Pavilion for an entire week in order to display its cultural roots as well as the most outstanding features of its land and peoples, through dance, musicians, theater, exhibitions, and an audiovisual projection in the Plaza. Spain’s regions will use this opportunity to show typical products and objects of their cuisine, customs, and craft traditions. The flag of each region will fly alongside the Spanish, Japanese and European flags over the main gate for a week. During its featured week, each region will have a special day. The Canary Islands, a paradisiac group of islands with a preferred climate and constant temperature through out the year, and splendid beaches of fine sand, consists of 7 large islands (Gran Canaria, Fuerteventura, Lanzarote, Tenerife, La Palma, Gomera, Hierro) and a few smaller ones (Alegranza, Graciosa, Montaña Clara, Roque del Este, Roque del Oeste and Lobos). -
Gabriela Granados
Gabriela Granados (flamenco dancer/choreographer) began extensively training at the age of four in her native Perú, studying a wide range of classical and regional Spanish dances, Flamenco, Classical Ballet, Character dance and Latin American folklore. In 1980, she moved to New York where she continued her dance studies and performing career. She traveled to Spain in 1985 and made her debut at the Tablao Flamenco Los Canasteros in Madrid. Ms. Granados also studied in Seville and performed in Madrid’s renowned tablaos flamencos Las Brujas and Zambra, where she had the opportunity to work alongside Spain’s top flamenco professionals. After returning to the U.S., she became a member of the flamenco companies of Maria Benítez, Andrea del Conte and Carlota Santana. In 1996, Ms. Granados founded American Bolero Dance Company, with a mission to present other aspects of Spanish music and dance, besides Flamenco. Her company received a Heritage and Preservation grant from the NEA in 2002 and, since 2009, yearly consecutive grants from NYSCA and NYC-DCA through the Queens Council on the Arts. Her work for ABDC encompasses classical and folkloric Spanish dances, 18th Century Bolero, Zarzuela and Flamenco. In 2002, Ms. Granados established her company- affiliated Spanish Dance School, dedicated exclusively to the preservation of all these dance styles. As artistic director, dancer and choreographer of ABDC, Ms. Granados has successfully presented her productions in New York City, the Mid-Atlantic States and Europe. She created and produced “Olé! Olé!” in 1998 at Intar Theater, “Olé! Olé! Fin de Siglo” in 1999 at The Kaye Playhouse, “Spanish Gems” in 2005 at Flushing Town Hall, and “Tablao Flamenco” in 2008, which run in Astoria, Queens, through 2013 for its sixth season. -
Program Notes Adam Mitchell (B
Program Notes Adam Mitchell (b. 1990) is a 5th year vocal music education major studying voice with Louise Toppin at the Uni- versity of North Carolina at Chapel Hill. He currently sings with the UNC Men’s Glee Club under director Dr. Dan Huff and is enrolled in the UNC-BEST program for music education. A native of Wilmington, NC, Adam entered UNC in fall of 2008 with intent to study pharmacy before switching to music the next year. He has studied guitar since age fourteen, and has been playing and singing professionally since age eighteen. Since then, Adam has performed in restaurants and venues in Wilmington, Chapel Hill, and Durham, most notably Jack Sprat Café and The Franklin Hotel, where he regularly performs one to two times a month. As a classical vocalist, Adam has performed recitals in both Wilmington and Chapel Hill for public schools, nursing homes, and university functions and has performed as a soloist for UNC Men’s Glee Club. Adam also spent a two week intensive study in Spanish art song repertoire at La Escuela Superior de Canto de Madrid where he performed on recitals and master classes focused on bettering the understanding and performance of Spanish song. In addition to performing, Adam cur- rently teaches private voice, guitar, and drum lessons. As a composer and songwriter, he has completed seven pop songs, one piece for classical guitar entitled La Corrida, and a musical setting of four poems by Shel Silverstein for classical voice and piano. In addition to composing, Adam has also arranged Every Time We Touch by Cas- cada for pep band and The Beatles’ Let it Be for men’s choir. -
La Importancia De Los Instrumentos Membranófonos, Ideófonos Y Aerófonos, En Le Folclore Canario
La importancia de los instrumentos membranófonos, ideófonos y aerófonos, en le folclore Canario Por Moisés Aday Rodríguez Gutiérrez Hace algún tiempo realicé un viaje a la Península Ibérica, más concretamente a Huelva, y aunque parezca un tanto inverosímil fui en barco, nada más y nada menos que treinta horas de viaje, y para más regañadientes escala en Arrecife, en Lanzarote. El buque que me llevó hasta Huelva se llama “Volcán del Teide”. Una de las múltiples peculiaridades que tiene esta embarcación y que mas captó mi atención, fue los nombre de los salones donde se acomoda el pasaje, ya que se trata de nombres de algunos instrumentos que están dentro de las representaciones folclóricas de nuestro archipiélago. Cinco son los salones y éstos sus nombres: timple, chácaras, bandurria, laúd y mandolina. Con tanto tiempo de travesía y tras captar mi atención los nombres de los salones, me puse a escribir este artículo, que como su título indica va a tratar sobre la correcta utilización de los instrumentos adecuados en cada tema de nuestro folclore tradicional. En muchos de los actos de folclore de toque, canto y baile que he presenciado en lo últimos tiempos, me he quedado un poco sorprendido al ver la cantidad de instrumentos que se usan para tocar folclore tradicional, que poco tienen que ver con los instrumentos usuales con los que nuestro folclore se ha venido manifestado desde el pasado siglo, y que, actualmente he presenciado en grupos que participan en festivales folclóricos tradicionales, por ponerles algún ejemplo, un grupo tocando un cajón flamenco para temas como Tango de La Florida, Isas, Malagueñas, 1 etc. -
A Mini-Guide
A MINI-GUIDE The Story . .2 Meet the Cast . .3 What is zarzuela? . .5 Meet the Creator of Little Red . .6 The Composers . .7 Activity: Make your own castanets! . .10 The Story: Bear Hug/Abrazo de oso! Bear Hug/Abrazo de oso! is a bilingual (in two different languages) youth opera and the cast sings in both English and Spanish. It is set in a zoo. The Zookeeper enters the stage while feeding some of his favorite animals including Marla, the koala bear, and Polly the panda bear. He admits that while he loves his job as zookeeper, he’s nervous about the grizzly exhibit next door. Grizzly bears are known to eat meat and he feels less than confident. Polly the panda greets the audience and mentions her love of reading and learning. She hears singing next to her exhibit and meets Bernardo, a very special Spanish brown bear and newest exhibit to the zoo. In fact, the entire zoo is decorated to welcome the newest bear! Bernardo, who has just arrived to the zoo and doesn’t speak much English, is nervous and feels lost. He misses his family. Polly distracts him from his loneliness by playing games like charades, trying to understand her new friend. They come across a locked gate. Polly has always wondered what was on the other side of the zoo and her adventur - ous personality starts the bears on a search for the key and out of their exhibit. The two meet Marla, the zoo’s koala bear. Koalas are actually marsupials—that means Marla isn’t really a bear at all! Koala bears are generally sleepy and like to eat plants such as eucalyptus. -
Bell Type Instruments • Bamboo Vibraphone • Belltree • Bhutan Bells
Bell Type Instruments Bamboo Vibraphone Iran Fingercymbals Tibetan Cymbals Belltree Metallophon Tibetan Singing Bells Bhutan Bells Mini Bells Vietnam Bells China Finger Cymbals Saron Gamelan Windbells Dream Catcher Shanghai Baby Piano Windchimes Ethno Gamelan Crash Bells Small Burma Bells World Glockenspiel Small Tubular Bells Bowed Instruments Gaohu Dilruba Ih Khuur Bass Morin Khuur Violin Egyptian Fiddle Jinghu Operaviolin Small Morin Khuur Erhu Morin Khuur Strings Western Fiddle Licks Esraj Ensemble CONSTRUCTION SETS China Set 100 Mid East Set 100 China Set 120 Mid East Set 120 Mid East Set 80 China Set 140 Mid East Set 140 GONGS & BOWLS Big FengGong Big Rako Bowls Java Gong Tam Tam Besar “ Big Tibetan Singing Mongolian Gong Thai Gong 14 Bowls Rin Singing Bowls Wuhan Tam Tam “ Gong Besar 18 KEYED INSTRUMENTS Scale Changer Dallape Accordion Melodica Harmonium India METAL TYPE INSTRUMENTS Kalimba Kibirizi 15 Bass Kalimba tuning Plates Metal Squares Cymbals Kalimba Kibirizi 5 Military Cymbals Hand Cymbals tuning Plates Mongolian Jews Harp Jews Harp Kalimba Hugh Tracey STRINGED INSTRUMENTS Acoustic Bass Vester Domra Sitar Balalaika Dra-Ngen Small Erhu Plectrum Bandura Grand Monochord Violin Banjo Framus Joochin Dulcimer Small Kantele Banjolin Kantele Steel String Guitar Big Erhu Plectrum Mandolin Truxa Falcon Violin Oud Tampura Bouzouki Sakis Oud Licks Tanbur Ceylon Guitar Resonator Guitar Timple Contra Guitar F - Bass Santoor Saberi Turke Saz Cora